Cultures & Communities

Furniture, cooking wares, clothing, works of art, and many other kinds of artifacts are part of what knit people into communities and cultures. The Museum’s collections feature artifacts from European Americans, Latinos, Arab Americans, Asian Pacific Americans, African Americans, Gypsies, Jews, and Christians, both Catholics and Protestants. The objects range from ceramic face jugs made by enslaved African Americans in South Carolina to graduation robes and wedding gowns. The holdings also include artifacts associated with education, such as teaching equipment, textbooks, and two complete schoolrooms. Uniforms, insignia, and other objects represent a wide variety of civic and voluntary organizations, including youth and fraternal groups, scouting, police forces, and firefighters.

Telegraph message, printed in Morse code, transcribed and signed by Samuel F. B. Morse.
Description
Telegraph message, printed in Morse code, transcribed and signed by Samuel F. B. Morse. This message was transmitted from Baltimore, Maryland, to Washington, D.C., over the nation's first long-distance telegraph line.
In 1843, Congress allocated $30,000 for Morse (1791-1872) to build an electric telegraph line between Washington and Baltimore. Morse and his partner, Alfred Vail (1807-1859), completed the forty-mile line in May 1844. For the first transmissions, they used a quotation from the Bible, Numbers 23:23: "What hath God wrought," suggested by Annie G. Ellsworth (1826-1900), daughter of Patent Commissioner Henry L. Ellsworth (1791-1858) who was present at the event on 24 May. Morse, in the Capitol, sent the message to Vail at the B&O Railroad's Pratt Street Station in Baltimore. Vail then sent a return message confirming the message he had received.
The original message transmitted by Morse from Washington to Baltimore, dated 24 May 1844, is in the collections of the Library of Congress. The original confirmation message from Vail to Morse is in the collections of the Connecticut Historical Society.
This tape, dated 25 May, is a personal souvenir transmitted by Vail in Baltimore to Morse in Washington the day following the inaugural transmissions. The handwriting on the tape is that of Morse himself. Found in Morse’s papers after his death the tape was donated to the Smithsonian in 1900 by his son Edward, where it has been displayed in many exhibitions.
Location
Currently not on view
date made
1844-05-25
1844-05-24
associated date
1844-05-24
donated
1900-04-18
associated person
Morse, Samuel Finley Breese
maker
Morse, Samuel Finley Breese
ID Number
EM.001028
catalog number
001028
accession number
65555
This postcard view of the Garden of Mission Santa Barbara was published by the Edward H. Mitchell company of San Francisco about 1908, as a photomechanical lithograph. The Edward H.
Description (Brief)
This postcard view of the Garden of Mission Santa Barbara was published by the Edward H. Mitchell company of San Francisco about 1908, as a photomechanical lithograph. The Edward H. Mitchell company published postcards between about 1900 and 1928.
Founded in 1786, Mission Santa Barbara was the tenth of twenty-one Spanish Franciscan missions established in California between 1769 and 1823. The mission was built to convert American Indians of the Chumash tribe to Catholicism.
Today the mission serves as a parish church and includes a museum, a Franciscan friary, or monastery, and a retreat site.
Location
Currently not on view
date made
ca 1900
graphic artist
Mitchell, Edward H.
ID Number
GA.24880.016
catalog number
24880.016
accession number
1978.0801
This postcard view of Mission San Francisco Solano de Sonoma was printed by the Curt Teich Company using photomechanical processes. The card was published in about 1914 by the I. L.
Description (Brief)
This postcard view of Mission San Francisco Solano de Sonoma was printed by the Curt Teich Company using photomechanical processes. The card was published in about 1914 by the I. L. Eno company in San Diego, Calif.
The Chicago-based Curt Teich Company manufactured postcards between 1898 and 1978 in association with several publishers. It used the term "Photochrom" and later "Colortone" to describe its color printing processes.
Mission San Francisco Solano De Sonoma founded in 1823, was the last of twenty-one missions built by Spanish Franciscans in California between 1769 and 1823. The mission was established to convert American Indians of the region to Catholicism.
Today the mission is a historical site managed by the Sonoma State Historic Parks system.
Location
Currently not on view
date made
ca 1914
graphic artist
Eno, I. L.
ID Number
1986.0639.0322
accession number
1986.0639
catalog number
1986.639.0322
Women's Jewish Welfare Board (JWB) uniform from World War I, consisting of hat, coat, shirtwaist, tie, skirt, and insignia. Coat and skirt are olive green wool gabardine, shirt is white dimity, hat is blue cotton, and tie is blue silk.
Description
Women's Jewish Welfare Board (JWB) uniform from World War I, consisting of hat, coat, shirtwaist, tie, skirt, and insignia. Coat and skirt are olive green wool gabardine, shirt is white dimity, hat is blue cotton, and tie is blue silk. Metal "U.S." insignia on coat lapel and cloth "J.W.B." patch with Star of David background on shouler and hat. Donated by the Jewish Welfare Board through The National Society of the Colonial Dames of America.
The Jewish Welfare Board (JWB) was organized shortly after America’s entry into World War I, consolidating religious groups in the Jewish community to become an official agency to work with the War Department through its Commission on Training Camp Activities. It was modeled after the Young Men’s Christian Association (YMCA) and the Knights of Columbus, and other organizations that in World War I adapted military-like uniforms for women and men volunteers. The JWB built buildings and stocked libraries on army installations and distributed books, articles, Bibles, and prayer books supplied through its affiliation with the Jewish Publication Society. It established community branches in the “second line of defense,” by supporting Jewish workers in the shipyards, arsenals, and other military plants and factories, as well as hospitals and universities where the government had taken over under military regulations. Following the Armistice, under direction of the Navy Department, the JWB transferred its peacetime work to veteran’s hospitals and enlarged Jewish community centers.
associated date
1914-1918
ID Number
1998.0165.25.01
catalog number
1998.0165.25.01.01
1998.0165.25.01.02
accession number
1998.0165
catalog number
1998.0165.25.01
Volunteerism plays an important role in philanthropy in America. After Hurricane Katrina destroyed lives and homes in the Gulf Coast in 2005, many nonprofit groups organized volunteers to help the recovery effort.
Description (Brief)
Volunteerism plays an important role in philanthropy in America. After Hurricane Katrina destroyed lives and homes in the Gulf Coast in 2005, many nonprofit groups organized volunteers to help the recovery effort. Jillian Gross led a team from Habitat for Humanity in rebuilding homes in Louisiana.
Description
This hard hat was worn by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world. Hard hats are used for head protection on construction and other work sites. This hat has a lightweight shell with suspension straps inside that absorbs shock from falling objects. It is made by MSA Incorporated.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.39
catalog number
2005.0276.39
accession number
2005.0276
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events.
Description (Brief)
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
This fire engine panel came from the Franklin Engine Company No. 12 of Philadelphia, Pennsylvania that was active as a hand engine company from 1792 until 1863 when it acquired a steam fire engine. It operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established. The painting “Franklin with Loaf of Bread” is attributed to David Rent Etter and dates to around 1830. The painting depicts the young Benjamin Franklin’s arrival in Philadelphia in 1723. As recounted in his autobiography, he mistakenly bought more bread than he could eat and gave the extra loaves to a poor woman and child. Benjamin Franklin was well known for organizing the first volunteer fire company in Philadelphia, and his image and his name were popular among the city’s fire companies. By invoking Franklin, volunteer firemen linked themselves to the progenitor of their trade, as well as someone who played a key role in the Revolution and securing America’s freedom. This painting and its companion piece (object 2005.0233.0307) would have adorned either side of the company’s engine.
Location
Currently not on view (screws)
Currently not on view
Date made
ca 1830
depicted
Franklin, Benjamin
artist attribution
Etter, David Rent
ID Number
2005.0233.0018
accession number
2005.0233
catalog number
2005.0233.0018
Most stoneware pottery produced in the South before about 1890 iscovered with alkaline glazes made from local materials.Based on lime or wood ash, these glazes often fired to a green or brown color, typical of 19th-century southern stoneware.Although this piece was found in Ports
Description
Most stoneware pottery produced in the South before about 1890 is
covered with alkaline glazes made from local materials.
Based on lime or wood ash, these glazes often fired to a green or brown color, typical of 19th-century southern stoneware.
Although this piece was found in Portsmouth, New Hampshire it shares some characteristics of early southern face vessels.
Location
Currently not on view
Date made
mid 19th century
delete
delete
date made
mid- 19th century
maker
unknown
ID Number
CE.392525
catalog number
392525
accession number
196885
Made of painted wood. Very little trace of original paint. Small standing figure holding a box of cigars, right hand pointing to label. Large curving feathered headdres, simple tunic with a curled collar carved in a baroque style. Banded sleves and fringed trousers.
Description (Brief)
Made of painted wood. Very little trace of original paint. Small standing figure holding a box of cigars, right hand pointing to label. Large curving feathered headdres, simple tunic with a curled collar carved in a baroque style. Banded sleves and fringed trousers. Legs cut into the log support.
Location
Currently not on view
date made
mid 19th century
ID Number
CL.65.1003
accession number
261195
catalog number
65.1003
collector/donor number
T-42
Currently not on view
Location
Currently not on view
ID Number
CL.65.1146
catalog number
65.1146
accession number
256396
Made of carved wood with traces of paint. Standing figure, right hand holds a bundle of cigars. Figure is wearing a simplified, short-sleeved tunic, fringed trousers. Behind figure are stacked tobacco boxes. Simplified banded headdress.
Description (Brief)
Made of carved wood with traces of paint. Standing figure, right hand holds a bundle of cigars. Figure is wearing a simplified, short-sleeved tunic, fringed trousers. Behind figure are stacked tobacco boxes. Simplified banded headdress. Sheaf of tobacco leaves in left hand.
Location
Currently not on view
date made
mid 19th century
ID Number
CL.65.1001
catalog number
65.1001
accession number
261195
collector/donor number
T-43
Currently not on view
Location
Currently not on view
date made
1871 - 1893
ID Number
1978.0635.01
accession number
1978.0635
catalog number
1978.0635.01
This exotic Eastern-influenced dress was designed by Callot Soeurs, a popular Parisian fashion house.The dress was worn by Mrs.
Description
This exotic Eastern-influenced dress was designed by Callot Soeurs, a popular Parisian fashion house.
The dress was worn by Mrs. Florence Sheffield Keep, a prominent Washingtonian whose busy social schedule and contacts within the diplomatic community were often noted in the Washington, DC and New York City newspapers. It is possible that this dress was worn to a diplomatic event in Washington, DC.
Callot Soeurs opened in 1895 at 24, rue Taibout in Paris, France. It was founded and operated by four sisters: Marie Callot Gerber, Marthe Callot Bertrand, Regina Callot Tennyson-Chantrell, and Josephine Callot Crimont with Marie being the head designer. Coming from an artistic family, their mother was a lace maker and their father a painter and teacher of design. Before opening the salon, the sisters first worked with antique laces and ribbons to adorn blouses and lingerie. They later expanded into other clothing to include daywear, tailored suits, and evening dresses being best known for their eighteenth century inspired dishabille and their exotic evening dress influenced by the East. In 1914, the design house moved to grander quarters at 9-11, avenue Matignon, and they became involved in Le syndicat de defense de la grande couture francaise. Through this organization Callot Soeurs along with designers Paul Poiret, Jacques Worth, Jeanne Paquin, Madeleine Cheruit, Paul Rodier, and Bianchini and Ferier, put in place controls to protect their original designs from copy houses that sold them to ready-to-wear manufacturers without their permission. This is the time when the Callot Soeurs began to date their labels.
As evident with the design of this dress of bright orange color, gold lace, and elaborate trim, in the 1920’s, Callot Soeurs used brilliant and rich fauvist colors and Eastern inspired designs with exotic details in their formal evening wear. Along with other designers such as Paul Poiret, they were strongly influenced by the wave of orientalism in fashion and the arts. It was during this period that Callot Soeurs became one of the leading fashion houses in Paris, serving exclusive clientele from Europe and the United States. In 1928, Pierre Gerber, Marie Callot Gerber’s son took over the business and moved it to 41, avenue Montaigne. It remained there until Marie retired in 1937. It was at this time that the House of Callot Soeurs closed and was absorbed into the House of Calvert.
This dress is constructed of bright orange silk chiffon with a lining of off-white satin. Gold metallic lace trim and elaborate decorative motifs of beading and iridescent sequins decorate entire dress. The bodice section forms a deep V at front and back with the under bodice lining covered with net forming an insert at center front. Bands of lace and decorated chiffon form diagonal straps at front with at a criss-cross pattern at back. A large decorative diamond-shape emblem of pearls, green and blue beads, and glass stones at corners and center are attached at lower edge of bodice front insert. Five pearl tassels extend from lower edge of the emblem. Horizontal bands of two-inch wide gold metallic lace centered with a band of beaded orange chiffon are set in at the mid-section of the dress. Long tails of chiffon decorated all over with beading and sequins are shirred at the shoulders forming a flowing sleeve-like appearance. The decorated orange chiffon skirt section has an inverted V insert of two-inch gold metallic lace at front which extends into a horizontal band at back. A scalloped pattern at the lower edge has an insert of gold metallic lace. A label woven into a waistband at inside lining reads: “Hiver 1922-1923, Callot Soeurs, Paris, Nouvelle Marque Deposee”.
Location
Currently not on view
Date made
1922-1923
used by
Keep, Florence Sheffield Boardman
maker
Callot Soeurs
Callot Soeurs
ID Number
CS.057028
catalog number
57028
accession number
202244
This intricately carved walrus tusk was carved for the tourist trade. It is not traditional scrimshaw, in that it is not whale ivory carved aboard a whaleship in the 19th century.
Description
This intricately carved walrus tusk was carved for the tourist trade. It is not traditional scrimshaw, in that it is not whale ivory carved aboard a whaleship in the 19th century. However, it is engraved marine ivory depicting marine hunting activity and marine mammals, so it is included among the arts associated with scrimshaw.
It contains multiple scenes of Lapland daily activities, surrounding a western-style cribbage board. On the obverse, two women are riding in a wooden sleigh drawn by a single reindeer or caribou, with another reindeer tethered behind on a rope. In the center is a deeply carved and shaded scrollwork motif frames a cribbage board, in the center of which a pair of polar bears flank a dead walrus. To the right are two sparring reindeer with their antlers entangled. The reverse has a scene of two hunters dragging dead seals along the ice; in front of them is a rider on a dogsled drawn by five dogs. The quality, scale and lithographic quality of the carving clearly indicate the hand of a professional scrimshaw artist working for the tourist trade.
Location
Currently not on view
date made
ca 1900
ID Number
AF.59396-N
catalog number
59396-N
accession number
260075
This engraved woodblock of "Marble Canyon” was prepared by engraver Edward Bookhout (1844-1886) and the Government Printing Office in Washington, D.C.; the print was published in 1875 as Figure 26 (p.77) in Report of the Exploration of the Colorado River of the West and Its Tribu
Description
This engraved woodblock of "Marble Canyon” was prepared by engraver Edward Bookhout (1844-1886) and the Government Printing Office in Washington, D.C.; the print was published in 1875 as Figure 26 (p.77) in Report of the Exploration of the Colorado River of the West and Its Tributaries. Explored in 1869, 1870, 1871, and 1872, under the direction of the Secretary of the Smithsonian Institution by John Wesley Powell (1834-1902). Thomas Moran (1837-1926) accompanied Powell on his expedition and drew the original image.
Location
Currently not on view
date made
ca 1875
1875
original artist
Moran, Thomas
publisher
Bureau of American Ethnology
printer
Government Printing Office
author
Powell, John Wesley
graphic artist
Bookhout, Edward
block maker
V. W. & Co.
ID Number
1980.0219.0259
catalog number
1980.0219.0259
accession number
1980.0219
As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations.
Description (Brief)
As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations. Engineers and officers would use “speaking trumpets” to amplify their voices over the noise and commotion of a fire scene to direct the company in effectively fighting the blaze. Two trumpet variants are reflected in the collection: plain and functional “working” trumpets that were actively used at fires, and highly decorated “presentation” trumpets. Presentation trumpets were awarded to firefighters in honor of their service, or between fire companies during visits, competitions, and musters.
This brass trumpet was used by the Robert Morris Hose Company, who served in Philadelphia, Pennsylvania from 1837 to 1871. The bell of the trumpet is silver plated and there are three silver bands around the trumpet’s shaft. Two rings are attached to the trumpet’s shaft to allow for a cord to be strung from the trumpet. An inscription on the trumpet reads “Robt. Morris H. Co. 1st line.” Robert Morris was a signer of the Declaration of Independence and a major financier of the Revolutionary War. It was a matter of pride and rivalry amongst the engine companies to be the company that put “first water” on the fire. No doubt the phrase “1st line” is meant to spur the foreman to be the first hose company on the fire scene to attach their hose, also known as a line, to a hydrant and then to an engine, thereby enabling the engine company to put first water on the fire.
Location
Currently not on view
date made
19th century
maker
unknown
ID Number
2005.0233.0848
accession number
2005.0233
catalog number
2005.0233.0848
As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations.
Description (Brief)
As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations. Engineers and officers would use “speaking trumpets” to amplify their voices over the noise and commotion of a fire scene to direct the company in effectively fighting the blaze. Two trumpet variants are reflected in the collection: plain and functional “working” trumpets that were actively used at fires, and highly decorated “presentation” trumpets. Presentation trumpets were awarded to firefighters in honor of their service, or between fire companies during visits, competitions, and musters.
This brass and pewter speaking trumpet was used during the 19th century. The brass trumpet has two flat pewter bands around the upper and lower portion of the shaft. Two rings hang from the side of the trumpet’s shaft. The rings would be strung with a cord to create a strap for the trumpet.
Location
Currently not on view
date made
unknown
maker
unknown
ID Number
2005.0233.0884
accession number
2005.0233
catalog number
2005.0233.0884
Working on assignment, Henry Horenstein photographed EmmyLou Harris (b. 1947) at her home. In the 1970s, Harris represented the generation of musicians who were influenced by traditional country, rock, and folk music.
Description
Working on assignment, Henry Horenstein photographed EmmyLou Harris (b. 1947) at her home. In the 1970s, Harris represented the generation of musicians who were influenced by traditional country, rock, and folk music. Over the years, Harris has had a profound impact on contemporary popular and country music.
Location
Currently not on view
negative
1980
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.034
accession number
2003.0169
catalog number
2003.0169.034
This postcard view of Mission San Luis Rey was printed by the Detroit Publishing Company in about 1910, using a copyrighted photolithographic process called "Photostint."The Detroit Publishing Company, previously known as the Detroit Photographic Company, was first listed in Detr
Description (Brief)
This postcard view of Mission San Luis Rey was printed by the Detroit Publishing Company in about 1910, using a copyrighted photolithographic process called "Photostint."
The Detroit Publishing Company, previously known as the Detroit Photographic Company, was first listed in Detroit city directories in 1888. Its manager, William A. Livingstone, invited the famous landscape photographer William Henry Jackson to join the company as a partner in 1897. Jackson brought with him his own photographic images, which would be used by the company.
Mission San Luis Rey de Francia was the eighteenth of twenty-one Spanish Franciscan missions founded in California between 1769 and 1823. Its dedication ceremonies took place in 1798. The mission was founded to convert American Indians of the Kumeyaay and Luiseno tribes to Catholicism.
Today the mission serves as a parish church, a museum, and a retreat site.
Location
Currently not on view
date made
ca 1910
graphic artist
Detroit Publishing Co.
ID Number
1986.0639.2017
accession number
1986.0639
catalog number
1986.639.2017
Pearl Butler accepts a song request from a young fan. Pearl (1927-1998) and Carl Butler (1927-1992) were part of the honky-tonk and bluegrass music movements before World War II.
Description
Pearl Butler accepts a song request from a young fan. Pearl (1927-1998) and Carl Butler (1927-1992) were part of the honky-tonk and bluegrass music movements before World War II. After their 1962 hit, "Don't Let Me Cross Over," the Butlers became one of the most popular male-female vocal teams in country music.
Location
Currently not on view
negative
1973
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.076
accession number
2003.0169
catalog number
2003.0169.076
Henry Horenstein photographed Hank Williams Jr., the son of legendary singer Hank Williams, leaving his tour bus. Williams Jr. (b. 1949) spent his early career singing his father's songs in his own style.
Description
Henry Horenstein photographed Hank Williams Jr., the son of legendary singer Hank Williams, leaving his tour bus. Williams Jr. (b. 1949) spent his early career singing his father's songs in his own style. After a 1974 suicide attempt and a mountain climbing accident in 1975, he revamped his own image, modeling it after rowdy southern rockers. Later he was considered part of the Outlaw Country Movement.
Location
Currently not on view
negative
1973
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.074
accession number
2003.0169
catalog number
2003.0169.074
This is a double end pry bar designed to pull out nails and for light demolition. The length has a flat shape, one end has a slight curve that is tapered and slotted and the other end is shaped like the claw portion of a common hammer.
Description
This is a double end pry bar designed to pull out nails and for light demolition. The length has a flat shape, one end has a slight curve that is tapered and slotted and the other end is shaped like the claw portion of a common hammer. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
date made
1998-2005
ID Number
2005.0276.11
catalog number
2005.0276.11
accession number
2005.0276
Chisels are used to cut and shape wood, stone and other hard materials. A paring chisel is a common woodworking tool which is used to cut and shave off thin amounds of wood. This chisel has a yellow tansparent handle and a 1" wide steel cutting edge or blade.
Description
Chisels are used to cut and shape wood, stone and other hard materials. A paring chisel is a common woodworking tool which is used to cut and shave off thin amounds of wood. This chisel has a yellow tansparent handle and a 1" wide steel cutting edge or blade. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.20
catalog number
2005.0276.20
accession number
2005.0276
At Tootsie's Orchid Lounge, musicians could hang out, perform and hope for a chance to be discovered.Currently not on view
Description
At Tootsie's Orchid Lounge, musicians could hang out, perform and hope for a chance to be discovered.
Location
Currently not on view
negative
1974
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.111
catalog number
2003.0169.111
accession number
2003.0169
Currently not on view
Location
Currently not on view
date made
ca 1878-1888
ID Number
CL.65.1009
accession number
256396
catalog number
65.1009

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